Joomchi

Joomchi is a Korean technique that is hundreds of years old. It involves layering Korean paper and working it with your hands and water to create a thick and strong paper that can be used in craft and art applications. I’ve ordered the book ‘Joomchi and Beyond’  by Jiyoung Chung.


I have tried Joomchi before and am going to try some for my paper manipulation library. 

A work by Jiyoung Chung

http://www.surfacedesign.org/event/joomchi-and-beyond-the-art-of-korean-papermaking-with-jiyoung-chung/    Viewed 10 September 2017

Research point 3 – David Hockney

http://www.davidhockney.co/works/drawings/arrival-of-spring-2013. Viewed 25 August 2017


This is one of a series of 25 drawings using charcoal on paper. It shows five drawings each of five roads at the beginning of spring 2013. The simple media of charcoal has managed to capture a big variety of moods of the roads using a range of different marks. 


Repetition with variation within the set of 25 creates an exciting image that draws you in to look closely and study the differences.

The arrival of spring at Wolgate 

This is one of a series of similar drawings but this time done on the iPad. The mood is different in these drawings. Obviously colour adds another dimension but the quality of the mark is also different. The drawings have a sort of surreal quality, perhaps to do with the slightly unnatural nature of the colours, but also I think to do with the smoothness of the mark. Despite the range of marks available they all lack the tactile nature of a physical media on substrate. That’s not to say I don’t like this. I love the potential of the iPad for drawing, removing without a trace, adding without any fear of contamination. But that same lack of contamination does also mean that it would be very hard to make an organic looking image and loses the dimensions of trace and serendipity that also attracts me. 

https://www.ngv.vic.gov.au/exhibition/david-hockney/#exhi-tab-key-works Viewed 25 August 2017


I am interested in this painting because it shows the potential to create a really large painting by using multiple smaller canvases. This could be applied to quilts or other textile works, where it is difficult to work very large. I also enjoy the intimacy of holding something smaller in my hand, but then the excitement of joining it together into a much larger work with sometimes unexpected results.

Roanna Wells

http://www.roannawells.co.uk/interpersonal-spatial-arrangements   Viewed 27 July 2017

 

 

RoannaWells.JPG
Obama Inauguration, Washington 2009 Hand stitch on wool 40x40cm (2012) – detail

http://www.roannawells.co.uk/spaces-between   Viewed 27 July 2017

RoannaWells2.JPG
Carried out during a week-long studio residency, this piece is the first in a potentially on going series documenting a specifically personal period of time. Each brush mark represents a minute of a day, with each colour change representing each new day. 18 days were painted in total.
Watercolour on 220gsm cartridge, 250x150cm 2016

Roanna Wells’ works use repetition of a single mark, whether stitched or painted. The layout of the individual stitches are guided, in the first work above, by the position of individuals in a crowd. In the second work the paint marks are used to document the passage of time with each mark representing a minute and each colour a day.

Building up a drawing from a single repetitive mark attracts me and I’m going to try this for my next linear drawing.

Debbie Smyth

http://debbie-smyth.com/shaded-works/  Viewed 25 July 2017

Debbie Smyth

Using the entirely linear medium of thread Debbie creates evocative lined and shaded drawings, often on a very large scale. In the above I’m attracted to the way the silhouette has been built up by repeatedly overlaid lines, creating a complex edge to the silhouette.

Thinking I might try something like this in my drawing.

An interview with Debbie can also be found here:

http://www.textileartist.org/debbie-smyth-inspired-memories-3/  Viewed 25 July 2017

 

Helen Terry

Just found the OCA textiles pinterest board and found this wonderful artist there.

<http://www.helenterryart.co.uk/>Viewed 26 June 2017

HelenTerry.JPG

This is a detail from one of her Between the lines series from 2016.

She incorporated dye and hand stitch and general mark making on fabric, often with antique fabrics. The result is works that look old, stained and imperfect, but they tell a story. I love this degraded imperfect look, reminiscent of the wabi sabi concept out of Japan. To me there is so much more meaning and story to be found in the imperfect.

Visited Wafu works store in Kingston for the first time and was amazed at what I found there. Old kimono silk on reels and silk threads and old textile artifacts like perished saki straining bags and hand embroidered wash cloths.  Apparently the owner’s husband is Japanese and he lives half his time in Japan. He buys lots at auction and brings them all the way back to Tasmania for lucky Hobartians to buy. I’m wondering about using that as my archive and buying a handful of textile artifacts there before I go to Central Australia, rather than using Central Australian op shop clothes. Hmm. I’m greedy. I’d like to do both. Will have to look ahead and see what is needed for the next couple of assignments before I go.

Michelle Griffiths

Michelle Griffiths.JPG

<http://michaelgriffithsfineart.com/photo_9336544.html&gt; Viewed 19 June 2017

Drawings that appear simple but are apparently built up with multiple layers and evolved and discovered as much as consciously drawn. The multiple layers and mixed media, with its variety of type of mark,  add a sense of depth and scale to the drawings.

Next drawing I try might include a bit of mixed media and layers.

Nice article about her process is also on the website:

Archaeology of meaning by Lynne Green    http://michaelgriffithsfineart.com/section606655_221620.html